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America 

Yesterday and Today 

BY NINA B. LAMKIN : 



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COPntlGHT DEPOSIT. 



AMERICA, YESTERDAY AND TODAY 




SPIRIT OF PATRIOTISM 



G/lmerica, 

"^iesterday and Todays 



BY 

cNINA B. LAMKIN 

\\ 

^iredlor of Normal Course in Physical Education at 
North we^em University School of Oratory and 
Physical Education, Evan^on, 111. ; Pageant Diredtor 
and Author of Hiilorical and Other Pageants; 
Chautauqua Lecturer on Child Welfare and Com- 
munity Work ; Author of *' Play — Its Value and 
Fifty Games" and "Dances, Drills and Story-Plays." 




CHICAGO 

T. S. DENISON & COMPANY 
Publishers 



EI79 

.LZ5 



COPYRIGHT, 1917 

BY 
EBEN H. NORRIS 



DEC 24 1917 

©CI,A47y898 



FOREWORD 

Pageantry in America has in a large degree taken the form 
of the Historical Pageant, founded on the history of certain 
communities. Through this revival of, or this "making alive" 
past events of local importance, have come the wonderful results 
of whole communities working and playing together. 

America needs to know more about how to play in a com- 
munity way; she needs to "be a child again," in wholesome, 
healthful out-of-door play, and pageantry is helping to bring 
this thing about. 

American History, Patriotism, Loyalty, Community Inter- 
est and Play, whether of yesterday or today, are themes which 
strengthen community life anywhere and which build a stronger 
patriotic loyalty through binding together groups of people 
who have common interests. 

There have come many calls from teachers and leaders in 
small and large communities for a pageant which can be used 
by them for school, club, fair association or community pur- 
poses. One of a historical nature which will have in it a local 
episode, etc. One which can be used for boys and girls alone, 
or one in which grown-ups can be interested. It is in answer 
to this call that "America, Yesterday and Today" has been 
written. It has been successfully produced 350 times during the 
year 1917 by schools and by communities. It is very simple in 
form, and easily gotten up by those of small experience in 
pageantry production. It Is very effective if given as it is here 
written. You are requested to use it in its entirety and to 
follow the business instructions carefully ; otherwise, the author 
does not vouch for its stately scenes or for its community 
influence. 

5 



nET the rivers and woodlands brin^ back to you 
The love of the pa^, the setting is new 
But we'll live the scenes of yeilerday 
By turning the pa^es of hiilory. 
We'll work together and together we'll play, 
Scenes in America, Ye^erday and Today. 



/ 



AMERICA, YESTERDAY AND TODAY 



Episode I. The Spirit of Indian Days. (Speaking part 

in Episode I.) 
Episode II. The Spirit of the Wilderness. (Speaking part 

in Episode 11.) 
Episode III. The Spirit of Patriotism. (Speaking part in 

Episode III.) 

Time — One Hour and Fifteen Minutes. 
Cast — One Hundred to Five Hundred. 



Directions at the end of Pageant. 

EPISODE I. 

The Spirit of Indian Days. 

Indian music is played softly for two or three minutes. As 
it ceases, The Spirit op Indian Days enters. She advances 
only a short distance and speaks: 

Great Manitou, who dwelleth in the clouds, 

Who mad'st his children from the red clay, 

I, the Spirit of the Prophet, call to thee; 

I speak for my people, the red men of our tribe. 

Long have I watched the warfare and the fasting; 

Long have I called to thee for days of plenty. 

Now that the chill days are gone and there is hunting 

again — 
Now that thou hast heard and brought back our for- 
gotten campfires — 
Behold the fields are rich with the Indian maize 
And the smoke rises from fire on fire along the hills. 
Great Manitou, the wonderful harvest is here. 
Thy children build to thee an altar in the council fire, 
They bring to thee the last of their harvest a sacrifice, 
To thee they give thanks for thy goodness and thy 
many blessings. 

7 



8 AMERICA, YESTERDAY AND TODAY 

As The Spirit says "Great Manitou," etc., she looks up- 
ward. On "I, the Spirit of the Prophet, call to thee," she 
extends both arms forward and upward and holds the pose 
through "days of plenty," lowering arms slowly through the 
next two Hues. As she says "Behold the fields," etc., arms 
about shoulder high and move them slowly outward and lower 
as she continues. She comes farther to the front for "Great 
Manitou," etc. The Indians begin to enter as The Spirit 
says "Great Manitou" and gather as she speaks. Each Indian 
carries a stalk of corn and they slowly form a circle about 
the fire. 

The Spirit continues: 

As the Maize ascends In the smoke of the council fire I 
speak for the tribes of the forest. 

All Indians in the circle raise arms and look upward as 
The Spirit continues: 

We thank thee for the red earth, 

For the rain, the sunshine and the evening dews, 

For the grass and trees and flowers. 

We thank Thee for the peace that follows strife. 

We thank Thee for abundant food for our tribes. 

The Indians about the fire hold the pose above until The 
Spirit has finished. On "We thank thee for abundant food 
for our tribes" they slowly lower arms and face left. 

Just as The Spirit finishes speaking, the music for the 
Corn Dance is heard. They dance and chant: 

"Kitchemanedo, 
Master of Life, 
Kitchemanedo 
Sent us the corn." 

In the middle of the last figure of Corn Dance, a long, low 
Indian yell is heard in the distance (right). The dancers say 
"Hiya, Hiya, Hiya," stop suddenly, and some with bent bodies 
and some erect all shade eyes and look into the distance {right) 
as another tribe is seen approaching. {Keep stage well bal- 
anced. ) 



AMERICA, YESTERDAY AND TODAY 9 

Home tribe runs to meet them, bending the body low once, 
then lifting right hand as a signal of welcome. They return 
with the visitors and form a close circle around the fire, sit- 
ting down, the chiefs in center front. While they do this, a 
messenger runs to the tepee and brings the calumet and gives 
it to the chief of the home tribe, who takes a whifF, then gives 
it to the visiting chief, who does the same, then he gives it back 
to the home chief, who starts it around the circle. All sit very 
silent and solemn during the passing of the peace pipe, which 
is returned to the chief of the home tribe, and is given to the 
messenger, who returns it to its place. As Indians meet this 
tribe and with the uplifted hand bring them to the council fire 
and pass the calumet. The Spirit speaks : 

Behold our Brothers from another tribe approach; 
All ancient hate forgotten, we bid them to the council 

fires — 
With visions of our wars buried deep in the red earth 
We smoke the calumet and bid the shadows clear. 
Much hast thou seen, Oh ! friendly warriors brave 
Of warfare, of red blood and the bitter trail. 
Remember now we bid thee speak of peace. 
Peace among all the tribes of the forest. 
O! Great Manitou, we bid the peace to come anew 
To come to the red men of our tribes. 
Lead us in safety then to our hunting grounds, 
In friendly spirit may we dwell as now 
In the everlasting forests of thy Kingdom, 
Lead us. Great Manitou, lead us on. 

{They go out slowly, led by The Spirit. Spirit raises 
right arm as she leads and Indians extend arms forward toward 
her as they follow.) 

As soon as The Spirit has finished speaking, soft Indian 
music is heard until the Indians have passed out. 

The music changes to a strong march. 



10 AMERICA, YESTERDAY AND TODAY 

EPISODE II. 

The Spirit of the Wilderness. 

Just as the music finishes, The Spirit of the Wilderness 
enters, and advancing to about center stage, she speaks: 

This is our earth, most friendly earth and fair. 
This is our home, oh birds and trees and flowers; 
Here are the voices of the wandering winds 
And here the sun sets quietly at eventide. 
Come, wild flowers, come thou forth and see 
The wondrous place I have for thee. 
And Butterflies with gauzy wings. 
Come thou with us — oh ! dance and sing. 

As she says, "Come, Wild Flowers," etc., she advances 
toward entrance, both arms outstretched, and as she finishes 
steps toward back of stage, facing audience, but with one arm 
still outstretched toward entrance. Just as she finishes a waltz 
is heard and the group of Daisies enter and dance. 

The Spirit of the Wilderness remains at back of stage 
and with animated look and action holds them under her spell. 
As they finish she moves her arms slowly forward and outward 
as though beckoning them to scatter out and remain in the 
forest. They scatter to either side and kneel. The same music 
that scatters them enters the Wild Roses. The Spirit wel- 
comes them and they dance and scatter out through the center, 
between the Daisies, kneeling. Both Daisies and Roses as they 
scatter out bring arms in circle over head and run lightly to 
places. 

As the Roses kneel the music of the Butterfly song is heard 
and the Daisies and Roses sing softly as the Butterflies 
enter and do their dance among them. The flowers continue 
singing until the Butterfly dance is ended and until Butter- 
flies, Daisies and Roses have gone to their places. 

If given indoors, the Butterflies, Daisies and Roses exit 
after this. If out-of-doors, they dance to the back or sides, 



AMERICA, YESTERDAY AND TODAY 11 

remaining on the field to the end of the Episode and with the 
other groups do an ensemble dance before leaving the field. 

The Poppies enter and dance, followed by the Dryads, the 
Grasshoppers and the Bluebirds. 

If indoors and in small space, the group exit after their 
dance. If outdoors, each group dances to the sides or the back 
and remains until the end of the Episode. At the end they 
form circles of six and do an ensemble dance and exit. 

The Spirit advances to side of stage opposite to entrance 
side and speaks : 

And now through the greenwood like music I hear 
The rustle of leaves, the breath of the trees. 
The strength of the forests, with branches outspread, 
Silently, bravely, they guard the greensward. 

As she speaks she moves diagonally across stage toward 
entrance as though listening. 

As she finishes a stately march is heard and the Trees 
enter, do their march and form a guard across the back. Enter 
the Tree Nymphs and dance. 

Just as the music ceases The Spirit speaks : 

And now from the shores of a beautiful sea 

The mist-maidens gather to watch and to dream, 

As the foam rushes in they dance on its crest. 

As the tide passes out they seek the forests and rest. 

As she finishes the music, "Pizzicato," is heard and the Mist 
Maidens in one long line, hands joined, enter with running 
step and form circle. 

They finish and disappear in one long line, if indoors. 

If outdoors, all the groups except the Trees form circles 
of six and dance an ensemble. Exit all but Trees. 

The Spirit speaks: 

The years wait not, they travel on ; 

The forests change their ways 

And man becomes a factor in 

The new regime that follows. 

The pioneers, staunch friends they are, 



12 AMERICA, YESTERDAY AND TODAY 

Must overcome the forests wild, 
And pledge themselves to build anew 
In freedom and in strength. 

As she finishes, she steps to the side back, with hand raised 
to entrance she welcomes the Pioneeh Man and Woman, but 
starts and shrinks back from them, wondering what they will 
do to the wilderness. 

As the Pioneer Man and Woman enter, soft music is heard 
which grows steadily stronger. As the Man puts down his 
bundle the Trees move forward forming a broken circle about 
him. He advances to one Tree, places one hand on his chest 
and the other at back of head and forces him to his knees. In 
the same way he conquers all the Trees. Then with a sweep- 
ing movement with his arm, one held high, he makes the Trees 
move slowly backward toward exit. Led by The Spirit of 
THE Wilderness all exit with bowed heads. {The Pioneer 
group may have ten or fifteen in it if out-of-doors. Oxen and 
covered wagons.) 

Just here a group of pioneer children enter and play "I 
See You," after which they form a group at one side. Now 
a group of older boys and girls enter and play games. Both 
groups shout and run off field. The pioneer group remains. 

EPISODE III. 

The Spirit of Patriotism. 

The Spirit of Patriotism enters and leading the Pioneer 
Man and Woman forward speaks: 

In strength, in power, with loyalty 
Our country was upbuilded. 
To these our sturdy pioneers 
Be praise and tribute always. 

Patriotism steps to center back and with arms outstretched 
holds pose as Pioneer group passes off the stage. {A march is 
played softly until they have passed off the stage.) 

As the Pioneers pass out the music changes to a martial 
air and The Spirit of State enters from one side the Little 



AMERICA, YESTERDAY AND TODAY 13 

Town Spirit, attended by Rural, Town, School and Church 
Interests from the other. Spirit op Patriotism stands at 
center. They are greeted by the State, who raises her right 
hand and holds as the Little Town Spirit courtesys and her 
Interests form a group around her as she stands with The 
Spirit of State. (Insert name of State on program.) They 
dance and the music continues as they run lightly from the dance 
and exit, followed by Little Town Spirit, who courtesys to 
State and exits. 

As she exits, Spirit of State steps to the side front away 
from entrance and The Spirit of Patriotism to the side front 
nearest entrance, diagonally facing audience, and The Spirit 
OF Patriotism speaks : 

In the fullness of co-operation, 
In the strength of community spirit, 
In the reward of earnest work, 
The child Little {name town) has grown, 
Until she stands revealed in the beauty and richness 
Of (name town) the woman of strength and wisdom. 
(Insert name of town where pageant is given.) 
As she says, "The child Little has grown" she ad- 
vances toward entrance and the Grown Town Spirit enters 
and stands at center back until she has finished speaking. 

As The Spirit of Patriotism finishes, a martial march is 
heard and the Grown Interests enter in this order : 
Christianity — Carrying a cross. 
Education — Carrying a book. 
Community Spirit — Carrying a scroll. 
Music — Carrying a lyre. 
Art — Carrying a vase. 
Drama — With arms outstretched. 
Welfare — Leading a child. 
Play — With a scarf. 

Forest Preservation — Carrying a branch. 
If there is room each of these may be a group with a leader. 
The Red Cross, Suffrage, Y. M. C. A., Y. W. C. A., etc., may 
be added here. 



14 AMERICA, YESTERDAY AND TODAY 

The Spirit of State and The Spirit of Patriotism stand 
on either side of the Grown Town Spirit — all moving to cen- 
ter. As the Interests enter each carries her symbol in hand 
next to audience, in the other are two American flags wrapped 
tightly. {Hold flags down close to side.) 

Christianity gives cross to Patriotism, who holds it aloft. 

Education gives book to State. 

Community Spirit gives scroll to Town Spirit. 

Music and Art kneel and place their symbols at the feet 
of Town Spirit. 

Welfare leads the little child who kneels at the feet of the 
group. 

Play dances in with scarf, touches little child on the head 
and she smiles, and stands with arms outstretched. 

Forest Preservation gives branch to State. 

When all the groups are on the field they move forward 
and take places for flag drill. 

"Marching Through Georgia" is played and the Interests 
do a flag drill. (Dixie may he used here.) 

The middle grouping remains in pose until the flag drill 
is finished, when the music changes to "Star-Spangled Banner" 
and all wave flags and sing. In the middle of the first verse 
the Interests begin to move to back of stage, followed by 
Spirits, all but The Spirit of Patriotism, who remains on 
opposite side of stage. 

Enter Spirit of Yesterday {the G. A. R.'s), carrying a 
flag. They salute and move to places in front of the Commu- 
nity Interests. 

Enter Spirit of Today — Soldiers or Boy Scouts — salute 
the G. A. R. and remain on the field. 

{If out-of-doors the soldiers can give a ten-minute drill 
number here.) 

The singing of the Star-Spangled Banner continues through 
the entrance of the groups of "Yesterday and Today" and the 
Interests wave flags. When song is finished (two verses) 
The Spirit of Patriotism speaks: 



AMERICA, YESTERDAY AND TODAY 15 

In the strength of these our brothers 
Soldiers of Yesterday and Today, 
Is Patriotism born anew 
To burn with ever stronger hue 
As each new cross is ours to bear. 
America our universal love, 
America all else above, 
America, beloved America! 
If there is room all these groups remain on the field, moving 
to places at left, right and back until the field is well balanced. 
Martial music is played and the music continues until The 
Spirit of the New America enters. Interests wave flags. 
Patriotism greets her by the uplifted hand and speaks: 
To all the Nations of the World 
America's flag has been unfurled. 
It off"ers freedom, peace and rest. 
It welcomes those who go in quest. 
America the New from every land 
We off'er you the outstretched hand, 
We welcome you and all who come 
To find our shores the home they love. 
Enter the following folk groups, each doing a characteristic 
dance and assembling at diff^erent places on the stage — French, 
English, Dutch, Swedish, Scotch and Russian. Each group 
enters with flag of their country, kneels to Patriotism, gives 
her the flag. After the last group has danced. New America 
and Patriotism unfurl American flag. The groups kneel and 
repeat the flag salute : 

We, the children of many lands. 
Who find rest under thy folds. 

Do pledge our lives, our hearts and our sacred honor, 
To love and protect thee, Our Country, 
And the liberty of the American people, forever. 
All on the field sing one verse of America. Interests wave 
flags. 

They form a grouping around Patriotism and the New^ 
America and then in slow procession, from back of the scenes 



16 AMERICA, YESTERDAY AND TODAY 

across the platform, and down the aisle or across the field and off 
the field pass all the Spirits which have made America, begin- 
ning with the early Indians and passing in order of their en- 
trance. The picture is held until the last of these groups have 
passed, then New America and Patriotism with their groups 
follow. During the Recessional America is sung. 

A SECOND ENDING. 

The soldiers of Yesterday and Today lead off In the Reces- 
sional, led by Patriotism, and all sing "The Call of America." 
{See Page 36.) After they have passed let the children from 
the nations who have pledged allegiance to the flag pass, led by 
New America. The past Spirits of early days will not appear 
again in this ending. Material 

(The material for this pageant is very largely taken from 
the authors book. Dances, Drills and Story-Plays, published 
by T. S. Denison Sf Company, Chicago, III.) 

(In organizing the music for orchestra, or band for an out- 
door production, choose from their repertoire, type music, which 
will correspond to music used here: as, any good waltz for 
Poppies, any good march for Trees.) 

Indian Corn Dance. 

After the harvest had been gathered the Indians came to 
the campfire, bringing their last ear of corn as a sacrifice, and 
thanked the Great Spirit for the food for the tribe. 

Music — "Indian War Dance." 

(Do a step once and repeat seven times means do the step 
eight times.) 

1. Around the campfire sixteen counts with the best known 
of the Indian steps, like our skipping step, only with 
lifted knee weaving the body forward and back. 

2. Around the campfire once with four steps like (1), 
then bend knees, bringing the outside knee near the 
ground and beating ground or floor twice with the 
palm of the outside hand, standing, place hand to 
mouth and give short Indian yell. This uses eight 
beats of music. Dance eight steps forward. Repeat 



AxMERICA, YESTERDAY AND TODAY 17 

this three times around the circle. This shows the 
ground and the joy of a harvest. 
S. Facing the center, arms raised high, palms to front, 
looking up to the Great Spirit, then lower arms slowly, 
bending bodies forward eight counts. This is thank- 
ing the Great Spirit for the harvest. Repeat three 
times. 
4. The last ear of corn from the tribal harvest is brought 
and placed in the fire, then all dance the first step 
around the campfire once, ending with a prolonged 
joyous Indian yell. 

Daisy Dance. 
Music — Waltz time. 

Any flower garlands two yards long. Use first eight meas- 
ures to enter running and form circle. 

1. Form circle, left hand high, right on hip, hold eight 
measures. 

2. Face left in circle, begin with left foot, run three steps 
(one measure), point (one measure). Repeat seven 
times (eight measures). 

3. Hold the last point eight measures more. 

4. Repeat the second figure, pointing sideward, eight 
times. 

5. Hold, facing outward, garlands out, eight measures. 

6. Beginning with right, face left, waltz step with the 
half turn, 16 measures. 

7. Face outward and kneel. Hold six measures, stand on 
seven and eight. 

8. Cross balance (step and swing) step, facing partners 
and joining hands, four steps, turning in place. 

9. Waltz step up center by twos, one-half to left side of 
field and one-half to right side of field and sit down. 

Rose Dance. 
Music — Roma waltzes. 

Each child carries a branch with a large pink paper rose 
tied in the top. 



18 AMERICA, YESTERDAY AND TODAY 

1. The roses enter running and waving branches. 
Scatter over the field, not in lines but with plenty of 
room between roses (one measure for one count). 

Wave to the music eight times. Kneel and hold branch 
in front of body eight counts. Repeat. Use a waltz 
measure, one count. 

2. Wave eight times. Run around partner eight meas- 
ures. 

3. Wave eight times. Turn and run outward four 
measures. 

4. Kneel and wave eight times. Stand and run quickly off 
field. Butter-fly Dance. 

Run with little steps in and out among the flowers, moving 
arms half through song. 

Pose, each butterfly over a flower with arms outstretched, 
rest of song. 

Run little steps again half through song and pose over 
flower with arms in circle and looking at flower, rest of song. 

Poppy Dance. 

Music — La Florentine Waltz. 

Each girl carries a poppy garland one and a half yards 
long. Run in, scatter over field and hold eight measures with 
arms lifted sideward. Keep arms far apart during the dance. 

1. Swing garlands to left, step left and point right (one 
waltz measure). Repeat to right. Take the step eight 
times. 

2. Point left toe forward, left hand over toe and right 
sideward, one measure; point left toe backward and 
arms sideward, one measure. Run three steps forward, 
one measure, and point right toe and hold one measure. 
Repeat forward. 

Repeat the figure, moving backward in the step twice. 

3. Form circles of three quickly and run twelve steps 
(four measures) to left and hold four measures, with 
arms high and head back. Repeat running to right 
and hold. Repeat the figure. 

4). Form wheels of three, quickly joining left hands at 



AMERICA, YESTERDAY AND TODAY 19 

center, right arms shoulder high. Run twelve steps 
and hold four measures with outside toe pointed. Re- 
peat, joining right hands. Repeat the figure. 
5. Repeat from the first. 

Dryads Dance. 
Music — Reuben, Reuben, I've Been Thinking. 
Enter all scrutched up like Brownies. 

1. Running four steps forward, bob heads, four counts. 
Run four steps back, bob heads, four counts. Repeat. 

2. Run around selves four counts. Bob heads, four counts. 
Repeat three times. 

3. Left hand on right shoulder of one in front and form 
circle. Run 16 short steps, facing left and same right. 

4. Join hands and run 16 counts to the left. 

5. Repeat the first figure outward from the circle. Re- 
peat from the first. 

6. Run to different parts of the forest and sit down. 

Grasshopper Dance. 
Music — La Cinquantaine — Gabriel-Marie. 
Enter hopping and form circle. 

1. Face left, hop forward four counts and nod head four 
counts. Do the figure four times. 

2. Face outward in a circle and repeat 1, moving out, 
repeat and return. Repeat. 

6. Face partners. Hands on knees and hop half way 
round partners (four counts), changing places with 
partner. Nod head four counts. Repeat and return. 

4. Hop off stage. 

Blue Bird Dance. 
Music — La Grace, by Charles Bohm. 
First Figure. Arms in diagonal position, left leading, 
four hopping steps forward and two cross balance 
steps, moving arms in direction of steps. Repeat 
right and take the step four times. 
Second Figure. Repeat the same step sideward four times. 
Third Figure. Step left and point right. Step right and 



20 AMERICA, YESTERDAY AND TODAY 

point left. Two cross balance steps around self. Re- 
peat four times. (Arms in lateral position.) 

Fourth Figure. Four glide steps forward with left hand 
leading, two cross balance steps. Repeat right. Re- 
peat both. Repeat twice backward. 

Fifth Figure. Four glide steps sideward left, two cross 
balance steps. Repeat right. Repeat both. 

Dance of the Tree Nymphs. 
{Arm Positions — First position means, arms in a circle in 
front of the hody about chest high. Second position, open the 
arms out to the side. Fifth position, arms in circle above and 
in front of the head.) 

Music — Torch Dance (Henry VIII), by German or Sleigh 
Bells in Emerson, page 21. 

The following notation will help you to mark your music 
if you use Torch Dance: 

Introduction 4 meas. 

I — Entrance 16 meas. 

II 8 meas. 

III 8 meas. 

IV 8 meas. 

V 16 meas.(Omit to "Coda") 

Exit Coda 

First Figure — 

Run 12 steps, starting with left foot, arms forward. 3 meas. 

Step turn to left, unfolding arms and hold 1 meas. 

Repeat, starting with right foot and turning right 4 meas. 
Repeat all 8 meas. 

16 meas. 

{Entrance may he made in groups of four or six, a rcew 
group entering with each repetition of step. During last repe- 
tition each group forms a circle, finishing facing center.) 

Second Figure — 

Join hands in circle and move around to right with 
step swing, step swing, run three steps and 
swing, repeated through 8 meas. 



AMERICA, YESTERDAY AND TODAY 21 

Third Figure — 

Lean toward center of circle, left hand up to left 

ear in listening attitude 1 meas. 

Run away from center of circle (three steps and 

hold) 1 meas. 

Lean to right and listen, right hand up to ear. ... 1 meas. 

Run in toward center of circle 1 meas. 

Repeat listening and running out of circle 2 meas. 

Lean to right and listen and run out of circle again 2 meas. 

T7 .1 XT 8 meas. 

J^ourth rigure — 

Move around circle to right, closing in and finish- 
ing back to back with hands joined, with two 
walking steps and three running steps repeated 
through 8 meas. 

Fifth Figure — 

Step swing around circle to left 4 meas. 

Couples join both hands quickly, swing each other 
rapidly around in place to right, pulling away 
from each other. Finish, letting go right hands 
and moving right arms quickly to fifth posi- 
tion, keeping left joined and hold 4 meas. 

With right hands joined and left arm in low second, 

step swing around each other 4 meas. 

With left hands joined, repeat last four measures.. 4 meas. 

16 meas. 

Exit with step swing twice, run three steps and swing. 

Mist Maidens Dance. 
Music — Pizzicato from Sylvia. Enter running. 
First Figure. Join hands in a circle, standing with your 
partners. Run 16 steps to left pulling outward, 
heads back and lifting foot back as you run. Run 
16 steps right. Join left hand with partner's left 
hand, right arm in circle and run eight steps around 
partner. Join right hands and repeat. Courtesy 
eight counts. Join hands and hold right. 



22 AMERICA, YESTERDAY AND TODAY 

Second Figure. Run eight short steps to center, bending 
forward. Run eight steps backward, bending back. 
Both arms in circle and run around partner eight 
counts. Courtesy eight counts. Repeat. 

Third Figure. Join hands in circle. Run 16 steps left. 
Run 16 steps right. All partners on left are No. 1. 
All partners on right are No. 2. No. 1 arms in circle 
and run eight steps to center and return. No. 2 arms 
in circle, face outward and run eight steps and return. 
Courtesy and stamp three times. Hold. 

Fourth Figure. Join left hands with partner. Move right 
arm from second to fifth position (sideward and to 
circle) continuously as you run 16 steps around part- 
ner. Join right hand and repeat. No. I's run eight 
steps to center and return, moving arms from second 
to fifth position continuously and turning body. No. 
2's run outward in same way. Courtesy and stamp 
three times. ■ Repeat the figure. No. 2's going to 
center. No. I's outward. 

Fifth Figure. Leave field with running, moving arms 
from second to fifth position. 

March of the Trees. 
Music — On Dress Parade. 

1. March to center back. (Each with two branches car- 

ried at sides.) 

2. Center by twos — March ! 

3. Files to corners — March! Branches crossed o\erhead. 

4. Diagonals to opposite corner — March ! Branches at 
sides. 

5. Outward counter march. 

6. Down sides of stage and across back to center — 
March ! 

7. Center by twos — March! (Inside branch crossed with 
partner.) Outside branch at side. 

8. First, third and fifth couples side step right four steps. 
Second, fourth and sixth couples side step left — four 
steps. Branches crossed overhead. 



AMERICA, YESTERDAY AND TODAY 23 

9. Those on left march around partners— eight counts. 

10. Those on right march around partners— eight counts' 

11. Cross left branches Avith partners and both march 
around partners, outside branch at sides. 

12. With both branches at sides, march to back of stage, 
form guard across the back. 

Music— Spring Song. ^^*^^^^^- 

Formation— Small circles of six, hands joined. Stand next 
to partner. 

1. Run eight steps to left, run eight steps to right. Run 
eight around self, moving arms outward and to circle 
overhead on first four steps and forward and down- 
ward on second four steps. Run four steps around 
partner, arms outward and overhead— deep courtesy, 
bending both knees and arms outward and downward 
during four counts. 

2. All face to left around the circle. Run forward eight 
steps, arms shoulder high and moving In time to step. 
Run around self eight steps, arms in circle overhead. 
Repeat the figure, the second time running four steps 
around self and a courtesy as in (1). 

3. Face center. Run four short steps forward, bringing 
arms forward and upward, palms away from body 
and bending slightly back with heads well back. Run 
backward four short steps, bending body forward and 
bringing arms forward and downward, palms down. 
Repeat. Face partner and run eight steps around 
partner, lifting arms forward and upward during the 
first four steps and lowering forward and downward 
during the last four steps. Repeat, running round 
partner four steps and end with courtesy as in (1). 
Repeat dance from the first and leave stage running 
and turning around self. 

Pioneer Children. 
"I See You" or "Looby Loo," or any children's singing 
game. ® ^ 

Games — Any good mass games or stunt drill. 



24 AMERICA, YESTERDAY AND TODAY 

Boys' Stunt Drill. 
Music — On Dress Parade. 

1. Swing arms in large circle, forward, upward and back- 
ward and run in place; 16 counts. 

2. Deep knee bend and hands to floor — 1 ; stretch body 
back — 2 ; lower body to floor — 3 ; lift body — 4 ; draw 
feet through hands to sitting position — 5 ; draw knees 
to body — 6; jump to position — 7 and 8. Repeat. 

3. Repeat 2, facing center. Repeat 2, facing outward. 

4. Deep knee bend and hands to floor — 1 ; jump and 
turn one-quarter turn to left — 2. Repeat until a com- 
plete circle has been made. Repeat, starting to the 
right. 

5. Each file close to the front. Each boy places left hand 
between legs and takes right hand of boy behind. Last 
boy lies down with feet close together and between 
legs of boy in front. The whole file walks astride 
slowly backward. When next to last boy can fit his 
feet into the shoulders of the boy already down, he 
lies down, etc. When the entire line is down the last 
boy down starts back astride across the line of boys 
and pulls up the next one behind him, etc., until all 
are up again. They have not let go of hands since 
they started. (This is called "Skin the Snake.") 

6. March to back of room and across by twos, face the 
front and the formation is two long ranks. First 
rank place hands to the floor. Second rank pick up 
heels of first rank who stiff^en their backs to avoid 
any strain. The first rank sets the pace and all move 
forward in the wheelbarrow race. Exchange positions 
and repeat. 

7. Face left, march by twos ; come up center by fours, 
halting about center of room, all hands to floor. Last 
boy in each file leaps over each boy in his file in turn. 
When he has passed the third boy the next one at the 
back starts. When each boy has reached the front 
he spaces and places hands to floor. (Leap frog race.) 



AMERICA, YESTERDAY AND TODAY 25 

8. Fall in by twos. March to back of room and across 
end, face the front and the formation is two ranks 
again. The first rank step ten feet in front of the 
rear rank and join hands. The rear rank stand oppo- 
site the hands of the front rank. The rear rank run 
and jump over the hands of the front rank. They then 
become the front rank and join hands while the rear 
rank jumps over. Continue as long as you have room. 
Out-of-doors, the length of the field. (Chain race.) 

9. Form one or two simple pyramids to finish the number. 

Dance of Little Town Interests. 
Music — See page 38. 
First Figure. Formation: A circle, hands joined and 
standing next to partner. Turn a quarter turn to 
left and run eight short steps left. Turn and run 
eight steps right. Join left hands with partner and 
run eight steps around partner. Deep courtesy to 
center. 
Second Figure. Run eight steps as in figure one. Run 
eight steps right. Hands on hips and run eight steps 
around self. Deep courtesy to center. 
Third Figure. Run eight steps left. Run eight steps 
right. Join inside hand with partner and run eight 
steps forward to the left. Deep courtesy to partners. 
Flag Drill. 
Each pupil carries two flags with hands on hips. 
Music — Dixie. 

1. Extend flag sideward — 1 ; return to position — 2 ; eight 
counts left, right and both. 

2. Extend both flags sideward — 1 ; cross overhead — 2 ; 
sideward — 3; position — 4; 16 counts. 

3. Extend flags sideward — 1 ; cross both below — 2 ; side- 
ward — 3; position — 4; 16 counts. 

4. Combine 2 and 3; 16 counts. 

5. Extend flags sideward and left toe sideward — 1 ; ex- 
tend left high, right low and step — 2 ; sideward — 3 ; 
position — 4 ; 16 counts. 



26 AMERICA, YESTERDAY AND TODAY 

6. Repeat 5, right. 

7. Repeat 5 toward center and away from center. 

8. First four ranks kneel and cross flags overhead. Hold 
eight counts. Last rank stand and cross flags over- 
head. Hold eight counts. 

Flag Drill— II. 
Music — Marching Through Georgia or Dixie. 
Flag in each hand. 

1. Flags sideward raise — 1; cross overhead — 2; sideward 
— 3 ; cross below in front — 4 ; 16 counts. 

2. Flags sideward raise — 1 ; left foot sideward place ; 
quarter turn to the left; cross flag overhead — 2; flags 
sideward and face front — 3; crossed below in front — 4; 
16 counts facing left; 16 counts facing right. 

3. Flags sideward and crossed overhead and left foot for- 
ward place — 1 ; kneel and bring crossed flags over knee 
— 2 ; hold six counts ; stand seven ; lowered in front — 8 ; 
16 counts left; 16 counts right. 

Repeat second and third figures toward the center and 
outward. (Use either drill.) 

French Dance. 
Music — March time. (Allegro.) 

Skip on to field by twos and come up center by fours with 
plenty of room between. 

1. Step left and point right toe in front, arms in laterals 
to left. Repeat right. Step left and bring right toe 
back of heel and courtesy. Step right and heels to- 
gether. Repeat. 

2. Join partner's inside hand and skip forward eight 
steps, drop hands, face partner and repeat first figure. 

3. Skip past partner eight steps, arms sideward, face 
front and repeat one. Turn around and return with 
eight skipping steps, remain facing partner and repeat 
one. 

4. With partner skip forward and around room once. 
Return to places and repeat one. 



AMERICA, YESTERDAY AND TODAY 27 

English Dance. 
Music — Arkansas Traveler. 
Circle Formation — Stand next to partners, 

1. Eight slips (glide steps) to the left; eight slips (glide 
steps) to the right. 

2. Eight slips to center. Hook partner's left elbow and 
step hop four times, turning out to place again. 

3. Repeat (1). 

4. Repeat (2), hooking right elbows. 

5. Repeat (1). 

6. Join partner's left hand and step hop four times around 
partner. Join right hands and repeat. Stamp and 
shout on the last two counts. 

Dutch Dance. 
Music — ^Lauterbach. 

First Figure. Face partners. Stamp left foot — 1 ; clap 
right hand on partner's right, swinging arm from 
shoulder — 2 ; stamp right foot — 3 ; clap left hand on 
partner's left — 4 ; stamp left foot — 5 ; clap right 
hand on partner's right — 6 ; hands on hips and stamp 
— 1, 1-2. Measures 7 and 8. Join left hands and 
walk eight steps around partner. Same right. 

Second Figure. Repeat first figure with falling out left, 
bending knee — 1. Same right. 
Use wooden-shoe walk, setting the heel first. 

Swedish Dance. 
Music — Polka time. Anvil Polka. 
First Figure. Join inside hands with partners and face 
partners, point outside toe sideward — 1 ; cross — 2 ; 
two glide steps — 3 and 4. Back to back with part- 
ner, keep same hands joined and use the inside foot 
in the same step. Repeat both, finishing with three 
short stamps. One stamp left. One stamp right. 
Clap three times. Repeat. Join left hands and run 
around partner once. Courtesy and stamp three 
times. 



28 AMERICA, YESTERDAY AND TODAY 

Second Figure. Join hands across ranks and repeat the 
first figure steps, only point left toe forward — 1; 
cross — 2. Glide two steps sideward left. Same right 
and repeat, finishing with the three short stamps. 
Finish as first figure. 

Third Figure. Alternate ranks, face left and right. Take 
the same steps forward in the direction the ranks are 
facing. Substitute running around self instead of 
around partner. 

Scotch Dance. 
Music — The Campbells Are Coming. 

First Figure. Right arm circled overhead and left to 
hip. Balance on right foot. Set left heel sideward 
— 1 ; cross back of right — 2 ; sideward — 3 ; to place, 
hopping on the left foot — 4. Repeat to right, re- 
verse position of arms. Continue 16 counts. Stamp- 
ing three times on 15 and 16 with hands on hips. 

Second Figure. Same position of arms. Set left heel 
forward — 1 ; set left toe backward — 2 ; forward — 3 ; 
to place, hopping on the left foot — 4. Repeat right 
with reverse position of arms. Continue 16 counts. 
Stamping three times on 15 and 16. 

Third Figure. Same position of arms. Glide sideward 
left — 1; cut (right taking place of left) — 2; leap 
on to left — 3; touch right toe back of left — 4. Re- 
verse position of arms and same to right. Continue 
16 counts. 

Fourth Figure. Same position of arms. Hopping on 
right foot. Point left toe sideward — 1 ; cross in front 
— 2 ; cross behind — 3 ; to place, changing weight to 
left foot — 4. Reverse position of arms and repeat 
right. Continue 16 counts, stamping three times on 
15 and 16. 

Fifth Figure. Same position of arms. Rocking step. 
Glide diagonally forward left — 1 ; hop on left and 
lift right foot back — 2. Glide diagonally backward 
right, hop and touch left toe in front of right toe. 



AMERICA, YESTERDAY AND TODAY 29 

turning knee outward. Continue 14 counts. Stamp 
three times on 15 and 16, hands on hips. Repeat, 
beginning with right foot and reverse position of 
arms. Repeat dance from the first. 

Russian Mazurka. 
(Arm Positions — First position means arms in a circle in 
front of the body about chest high. Second position, open the 
arms out to the side. Fifth position, arms in circle above and 
in front of the head.) 

Music — Any mazurka, (Mazurka step-glide, cut, balance.) 
Formation — Double circle, inside hands joined. 

First Figure. Mazurka right, right arm In second, 
stamp three times outside hand on hip, head thrown 
back. Repeat left. Repeat both. Join left hands, 
mazurka right, right arm in second, stamp three 
times, right hand on hip, head well back. Repeat 
left. Join right hands, mazurka right, left arm in 
second, stamp three times, left hand on hip. Turn 
around partner with three running steps and court- 
esy to partner through three counts. The gentle- 
man making a slight bow, the lady a deep courtesy. 

Second Figure. Join inside hands, mazurka right, three 
leap runs forward, outside arm in second throughout. 
Repeat left. Repeat both. Join both hands, ma- 
zurka right, stamp three times, mazurka left, stamp 
three times, mazurka right stamp three times. Turn 
around partner with three running steps and court- 
esy through three counts. 

Third Figure. Join left hand with partner, mazurka 
right, balance up and back through three counts. 
Mazurka right, balance up 1-2, jump lightly, chang- 
ing the position of the feet on 3. Join right hands, 
mazurka left, balance up and back through three 
counts, mazurka left balance up, 1-2, and jump 
lightly, changing the position of the feet on 3 with 
a courtesy. Repeat all. 



30 AMERICA, YESTERDAY AND TODAY 

Fourth Figure. Mazurka right, both arms in second, 
stamp three times, arms folded high. Repeat left. 
Face partner, mazurka sideward right arms in sec- 
ond, stamp three times, arms folded high watching 
partner. Mazurka sideward left, arms in second and 
stamp three times, arms folded high. Gentleman 
stand with arms folded high, watching partner, indig- 
nant, turn slowly with four steps through 12 counts, 
extend hands to lady through three counts, dance 
with her as indicated. Lady mazurka right, arms in 
second, three leap runs forward around gentleman, 
flirting with him. Repeat left, completing circle. 
Extend both hands to gentleman, three counts, whirl 
around partner, both hands joined, through six 
counts and courtesy through three counts. 

THE SETTING. 

Out-of-doors. 

Give the pageant out-of-doors if possible. Select a wooded 
place — the trees make a wonderful setting. If there is a stream 
or a lake at the back or sides of the field, use it in the Indian 
scene. Have the visiting tribe come in canoes, and have the 
home tribe run to the water's edge and meet them, bringing 
them back to the camp fire. Have the entrances for groups 
rather long. Let them be seen coming through the trees. It 
is more realistic to see a group coming in the distance than to 
see them waiting just outside a green screen for their cue. 

If you give the pageant out-of-doors where there are no 
trees, stretch a wire fence across back and sides of stage, letting 
the side pieces be separate and lap over the ends of the back 
to form entrances. Cover all this with branches and you will 
have a good looking stage. In this case it may not look well 
to have long entrances with no trees, but keep your cast far 
enough away from entrances so that the audience do not see 
them standing about long beforehand waiting for their cue. 
This takes away all the surprise and expectation. 



AMERICA, YESTERDAY AND TODAY 31 

Indoors. 
If the pageant is produced indoors, stretch small rope across 
the back of stage and set up branches. Do not depend wholly 
upon a painted woods ; it adds a great deal to the setting to 
see some real branches. 

THE CAST. 

If the production is indoors the cast will be limited to the 
stage room. About eighty would be the smallest number that 
could be used. If out-of-doors as many as 500 can be used. 

There will be three cast lists given, one for eighty, one for 
197, one for 539. You can easily choose a number between 
these and arrange the cast to suit it. 

If you are limited in numbers shorten the cast list by omit- 
ting one or more groups in Episode II ; by limiting the Pioneer 
scene to one group of children and by omitting one or more 
of the Folk groups in Episode III. In this way the cast can 
easily be cut to 100 or 150 persons. 

The cast lists show the average age for boys and girls for 
each group, and it also shows the groups where men and women 
have been used in the community production. 

One person may take the three speaking parts, changing 
costume quickly, or three persons may take parts, one in each 
Episode. 

CAST LIST. ^ 

Number. t? t V- 

^ ^ r- ^ Episode 1. t« en - ^ 

Cast Cast >^ t; r> 

of 197. of 539. Age. 

1 1 Spirit of Indian Days.. 

8 30 Indian Women 

8 30 Indian Men 

Episode II. 
1 1 Spirit of Wilderness. . * or 

10 30 Daisies 9-10 * 

10 30 Wild Roses 7-8 * 

10 20 Butterflies 5-6 * * 



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32 AMERICA, YESTERDAY AND TODAY 

Number. Episode II — Continued. ^ 

Cast Cast >. -H S I 

of 197. of 539. Age. m O ^ ^ 

10 20 Poppies 11-12 * 

10 20 Dryads 7-8 * or * 

10 20 Grasshoppers 9-10 * 

8 24 Bluebirds 13-14 * * 

10 20 Mist Maidens 13-15 * or * 

12 36 Trees 11-12 * 

10 30 Pioneer Children 6-10 * * 

10 30 Pioneer Boys 11-14 * 

2 10 Pioneers * * 

Episode III. 

1 1 Spirit of Patriotism. . * qj. * 

1 1 Spirit of State * or * 

1 1 Little Town Spirit.... 6-7 * 

4 8 Little Town Interests.. 6- 8 * * 

1 1 Town Spirit * or * 

10 30 Town Interest Group.. * or * or * or * 

1 1 New America * or * 

8 24 French 10-14 * and * or * and * 

8 24 English 14-18 * * or * * 

8 24 Dutch 12-15 * * or * * 

8 24 Swedish 15-18 * * or * * 

8 24 Scotch 15-20 * * or * * 

8 24 Russian 12-15 * * or * 

197 539 (j^^t iigf (juf fQ 80. 

1 Spirit of Indian Days. 

9 Indian Men. 

8 Indian Women. 

8 Daisies (English Folk Group). 

8 Wild Roses (French Folk Group). 

8 Butterflies (Dutch Folk Group). 

8 Maids of Mist (Swedish Folk Group). 

1 Pioneer Man. 

1 Pioneer Woman. 



* 



AMERICA, YESTERDAY AND TODAY 33 

10 Pioneer Children. 

1 State Spirit. 

1 Little Town Spirit. 

4 Little Town Interests. 

1 Grown Spirit. 

10 Grown Town Interests. 

1 New America. 

THE MUSIC. 

The music is chosen largely from one music collection to 
keep this side of the work simple and easy to handle. 

If an orchestra or band are used the music list is arranged 
so that you could easily choose suitable numbers from an orches- 
tra or band repertoire, as waltz, march, polka, etc. For the 
folk dances piano, violin and drums can be used, and the score 
can be read from the piano score. 

Keep authentic music for all folk groups. 

Music List. 

For all numbers where pages are given you are referred to 
"Emerson's Moving Picture Music FoHo." This can be ob- 
tained from the Publishers of this book. Price $1.00, postpaid. 

Other music needed is given in the pageant book except "La 
Grace" which can be supplied in cheap form. 

1. To an Indian Lodge McDowell 

(Found in Woodland Sketches McDowell) 

(Any of the Hiawatha or other good Indian music 
can be used for this introduction.) 

2. Indian War Dance p. 4. 

3. To an Indian Lodge. . . , (Repeated as Indians exit in 

Episode I.) 

4. Priest's March p. 72. (Played between Epi- 

sodes I and II.) 

5. La Florentine Waltz. . . .p. 84 (Daisies.) 

6. Roma Waltz p. 78 (Roses.) 

7. Butterfly Song See Pageant, p. 37 (Butter- 

flies.) 



34 AMERICA, YESTERDAY AND TODAY 

8. Blue Danube or any good 

waltz (Poppies.) 

9. Reuben, Reuben, I've 

Been Thinking p. 29 (Dryads.) 

10. La Cinquantaine p. 98. (Grasshoppers.) 

11. La Grace— Bohm. (This 

can be purchased for 

10 cents) (Bluebirds.) 

12. On Dress Parade p. 64 (Trees.) 

13. Pizzicato p. 18 (Mist Maidens.) 

14. Sleigh Bells p. 21 (Tree Nymphs.) 

15. Spring Song p. 26 (Ensemble.) 

16. Priest's March p. 72 (As Pioneer Man and 

Woman enter, and played 
softly until the trees have 
been conquered and have 
been forced off.) 

17. Children's Singing Game.. (Chosen from any book of 

Folk Games.) 

18. Priest's March p. 72 (Played softly as Pio- 

neer Man and Woman or 
Pioneer group pass off.) 

19. March from Tannhauser..p. 68 (Played as Spirit of State 

and Little Town Spirit with 
Rural, Town, Church and 
School Interests appear and 
take their places.) 

20. Dance of Little Town 

Interests ( See Pageant, p. 38. ) 

21. March from Tannhauser..p. 68 (Played until Grown 

Town Spirit and the Grown 
Town Interests have taken 
their places.) 

22. Marching Through Geor- 

gia or Dixie pp. 38 or 37 (Flags.) 



AMERICA, YESTERDAY AND TODAY 35 

23. Star-Spangled Banner. . .p. 36 (Played at end of Flag 

Drill and as Town Interests 
leave stage or move to back 
field.) 

24. America p. 35 (Entrance of New Amer- 

ica.) 

25. Marseillaise p. 42 (Entrance of French.) 

26. Allegro p. 11 No. 22 (French dance.) 

27. Rule Britannia p. 50 (Entrance of English 

group.) 

28. Arkansas Traveler p. 29 (English dance.) 

29. The Broken Ring p. 58 (Entrance of Dutch 

group.) 

30. Lauterbach p. 57 (Dutch dance.) 

31. Swedish National Hymn.. p. 44 (Entrance of Swedish 

group.) 

32. Anvil Polka p. 89 (Swedish dance.) 

33. Rule Britannia p. 50 (Entrance of Scotch 

group.) 

34. The Campbells are Com- 

ing p. 28 (Scotch dance.) 

35. Russian National Anthem. p. 44 (Entrance of Russian 

group.) 

36. La Czarine p. 116 (Russian dance.) 

37. America p. 35 (Sung after the Flag Sa- 

lute and used for the Reces- 
sional. ) 



36 



AMERICA, YESTERDAY AND TODAY 



The Call to America. 



COPVRIQHT, IBI7, BV C. M. LAMKIN. 



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1. come with your mon - ey, and come with your sons, come with your 

2. Our broth - ers in Brit - ain, our broth - ers in France, Your safe - ty and 

3. We come with young man- hood, who glo - ry in strength, We'll fol - low with 

4. The spir - it of Free-dom she bids us go forth. The torch shall en- 



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perchance; Our right arm can help 

at length. So cheer up, dear Brit 

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cross the blue sea, Our Moth - er, fair Brit - ain, 

fresh lor the fray, Your free - dom and ours is 

help you to plant The flag of the free on 

meet at her shrines, One coun - try - all broth - ers 



we're com - ing to thee. 

our watch- word to-day. 

the con - fines of France. 
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AMERICA, YESTERDAY AND TODAY 
Butterflies. 



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38 AMERICA, YESTERDAY AND TODAY 

Dance of the Little Town Interests. 

Allegro. 



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AMERICA, YESTERDAY AND TODAY 39 

PROPERTY LIST. 

1. Branches fastened at back of stage by stretching two 
lengths of small rope tightly across back of stage and sticking 
branches In them. 

2. Stalk of corn for each Indian in first group. 

3. Electric light extension to center of stage for camp 
fire. Wire guard for light and red cloth over it, branches 
about it. 

4. One peace pipe — straight stick or piece of bamboo 
about 18 inches long, piece of blotter paper three or four 
inches wide for bowl. Make hole inside of bowl and stick stem 
through. With colored chalk decorate bowl. Tie narrow bright 
ribbons (three or four) about stem and let them hang down 
several inches. 

5. Branches for "trees" — two apiece. 

6. Gilt shield. Pasteboard circle two feet in diameter, 
cut and lapped on one side, covered with gilt paper. 

7. Symbols: Cross (rough wood 12 inches high). Book, 
Scroll (roll of paper 18 inches long), Lyre (cardboard covered 
with gilt paper, 20 inches high). Vase, Scarf (chiffon veil, any 
light color). Branch. 

8. Two American flags for each girl in the Grown Town 
Interests group or groups. 

9. One large American flag. 



COSTUMES. 

1. Spirit of Indian Days — Brown denim or cambric 
fringed. Paint bright figures on it. Red cloth head band, 
one feather at back. Hair in braids and a red scarf thrown 
over one shoulder. More elaborate dress if obtainable. 

2. Indian Women — Camp fire dresses or a yard of red 
and yellow calico fringed and sewed on any dark loose dress. 
Slip of brown cambric fringed. Some in blankets, headband — 
one feather at back — grease paint or liquid paint. 

3. Indian Man — Khaki or dark trousers trimmed in 



40 AMERICA, YESTERDAY AND TODAY 

fringe, loose dark skirt, or Indian suit and some in blankets. 
Headband and feathers, grease paint. 

4. Spirit of Wilderness — A dull green drape around 
body and one end thrown over shoulder. Band of leaves in 
hair (a green or brown slip under this). 

5. Daisy Group — White dresses. Daisy chain (narrow 
strip of green cambric with daisies sewed about four inches 
apart, length of chain one and a half yards, daisies cut out of 
white crepe paper, yellow cambric disks for centers, daisy hair 
bands. Chains may be used on costumes and baskets carried.) 

6. Wild Rose Group — ^White dresses, pink sashes, rose 
hair bands, carry branches with one rose tied in top. The 
crepe paper dresses of pink also are very effective. 

7. Butterflies — ^White dresses, tarleton bows fastened 
at back between shoulders, 

8. Trees — Light waists and dark pants, green caps, carry 
two branches held at sides or an entire costume of green 
cambric. 

9. Maids of the Mist — Grecian costume, two blue, two 
white, two pink, two lavender and two green with scarfs. 
Dresses 10 inches from floor. 

10. Tree Nymphs — Slips of green silkaline with addi- 
tional skirts longer than the top of yellow and brown, cut 
in jagged points. Wreath and leaves about head. 

11. Dryads — Boys, make slipover coats of green cambric, 
ragged at the bottom, and band of leaves about the head or a 
band of green cambric about the head and a little branch stuck 
in at back of head. 

12. Grasshoppers — Suits of light green cambric made 
like a boy's one-piece night gown. Close round caps of green 
with two large black circles for eyes on the front and antennae 
of black bonnet wire. 

13. Bluebirds — Slip of light blue cheesecloth, one length, 
with hole cut in middle for the head and the sides sewed up, 
leaving arm holes. Straight or rounded at bottom. Take a 
two-yard length one-half yard wide, gather in center and fasten 
between shoulders in the back. Put small loop on top corners 







SPIRIT OF STATE 



AMERICA, YESTERDAY AND TODAY 41 

of the ends and loop onto the middle finger of each hand. This 
is the drapery. It can also be used as a scarf and not fastened 
at back. 

14. Pioneer Man 'and Woman — Old clothes, carrying 
bundles. 

15. Pioneer Children — Old clothes, colored dresses. 
They carry bundles. 

16. Spirit of New America — White Grecian, scarf of 
red, white and blue, gilt crown. 

17. Spirit of State — White Grecian, with white drape, 
gilt crown and shield. 

18. Little Town Spirit — White dress, wreath in hair, 
carrying wild flowers. 

19. Little Town Interests — 

2 Rural (Plough boy, farm clothes, big hat). 

(Milk maid, cap and apron, colored dress 
rather long.) 
2 Town (Boy and Girl). 

General store, dark clothes, carrying grocer- 
ies, dry goods, etc. 
2 Church (Girl) Carrying Bible on way to church. 
Dark clothes, girl's dress rather long, 
white fichu. 
(Boy) Little Minister. 
2 School (Boy) Running and skipping. 

(Girl) Bundle of books. Hair in braids. 

20. Grown Town Interests — Dressed in their own white 
or light dresses, carrying symbols, as — 

Christianity Cross 

Education Book 

Community Town Charter 

Music Lyre 

Art Arms in good pose 

Drama Arms extended forward 

Welfare Leading the little child 

Play With scarf 

Forest Preservation Branch 



42 AMERICA, YESTERDAY AND TODAY 

If each of these had a light colored veil which could be 
draped over the left shoulder and the upper edges caught at 
right side, the effect would be very pleasing. 

21. English — White or light dresses with fichus and caps 
of pink. (Consult costume book in library.) 

22. French — White dresses with caps of blue. 

23. Dutch — White dresses, caps and aprons of red. 

24. Swedish — White dresses, yellow aprons with stripes 
and yellow caps. 

25. Spirit of Patriotism — A white cheesecloth slip with 
overdress of red, white and blue bunting covered with stars, cut 
in inch stripes and attached at waist, falling over skirt. A piece 
of the white strip forming a girdle and the rest of the white 
strip put over shoulders and attached to girdle. Three yards 
of bunting cut in three long strips (red, white and blue) ; the 
red and blue is cut into yard lengths, cut into strips, and this 
makes the skirt over the white. The third strip is used one- 
third of it for the girdle and the rest for the shoulder strips. 
A headband of red, white and blue finishes the costume. 

26. Scotch plaid gingham pleated skirts, white waists, 
black Scotch caps, white turnover collars and sash of plaid over 
left shoulder. 

27. Russian — High boots made by using heavy black 
paper. Long Russian blouse of dark cambric or cheesecloth 
and belted down. Close caps. 

Very inexpensive costumes have been given here because 
often the "Costume Money" is very little, but good results may 
be secured with a little money. In this pageant 125 boys and 
girls were costumed for $8.00. 

In some cases the more elaborate costumes have been sug- 
gested if you want them. The folk groups can all be more 
elaborate. Any costume book will give you those very much 
in detail. Our object was to get the effect with accessories 
as caps, aprons, fichus, etc. 



AMERICA, YESTERDAY AND TODAY 43 

{A Suggested Program of the Pageant for Print) 

Pageant. 

AMERICA, YESTERDAY AND TODAY 

Author Nina B. Lamkin 

Director 

Episode I. 

THE SPIRIT OF INDIAN DAYS. 

The Spirit of Indian Days speaks. Indian men, women and chil- 
dren are gathering for The Corn Dance. (An Indian ceremonial when 
the last of the harvest is brought as a sacrifice to the Great Spirit for 
the rain and the sunshine which have made the harvest plentiful and 
which have given much food for the tribe.) 

Arrival of another Tribe. 

Laying of the Peace Pipes. 

Exit of Indian tribes led by the Spirit of Indian Days. 

Episode II. 

THE SPIRIT OF THE WILDERNESS. 

The Spirit of the Wilderness speaks. Groups in order of their 
entrance: 

The Daisies. The Dryads. The Trees. 

The Wild Roses. The Grasshoppers. The Tree Nymphs, 

The Butterflies. The Bluebirds. The Mist Maidens. 

The Poppies. The Pioneer Group. 

(The Pioneers overcome the forests.) 

Episode III. 

THE SPIRIT OF PATRIOTISM. 

The Spirit of Patriotism speaks. Persons and groups in order of 
their entrance: 

The Spirit of State. The Grown Town Interests. 

The Little Town Spirit. Christianity. 

The Little Town Interests. Education. 

Rural. Community Spirit. 

Town, Music. 

School. Art. 

Church. Drama. 



Forest Preservation. 



The Grown Town Spirit. Welfare. 

Play. 

The Spirit of Yesterday (G. A. R.). 

The Spirit of Today (Soldiers and Boy Scouts). 

The Spirit of New America. 

The Folk Groups who pledge allegiance to our Flag. 

French. Dutch. Scotch. 

English, Swedish. Russian, 

Recessional — "America" or "The Call to America," 



44 AMERICA, YESTERDAY AND TODAY 

THE ORGANIZATION AND PRODUCTION OF A PAG- 
EANT IN THE SMALL COMMUNITY. 



Some Civic and Social Reactions. 
By Nina B. Lamkin, 

Director, Normal Course in Physical Education, Northwestern 

University. 
(Written for the Drama League Monthly, January, 1917.) 

The thought is universal today that whatever is worth while 
for a large community is very much worth while for the small 
community, which does not have within its boundaries, or often, 
within its reach, many of the resources for social and recre- 
ational activities which the larger center enjoys. 

The pageant has found a fertile field ready for cultivation 
in the towns ranging in numbers from 600 to 6,000 folk. The 
experience and the keen delight which has come to me through 
being able to go into a center of this average size and with 
the town folk, organize and produce a pageant for the com- 
munity and by the community, far excels any experience of 
working with greater groups in larger centers. 

The First Interest. 
These centers often have very little in the way of finances 
to start with; they are afraid that the venture may not suc- 
ceed; they doubt the possible civic growth which may arise 
from it (with the exception of a few), and they want some 
assurance that it is really worth while for them to undertake it. 
Such assurance if given in a sane, practical way begins to inter- 
est them. The possible co-operation of the several factions 
and factors in the town appeals to them. Tlie mild appreci- 
ation of their own natural resources and their own town leaders, 
encourages them. The historical background of that locality 
and the local points of industrial and social growth begin to 
seem quite worth making alive in a big community home-coming 
festival, which shall give new color, new vitality and a new 
civic interest to their home. 



AMERICA, YESTERDAY AND TODAY 45 

The Organization. 

I shall be extremely practical in this talk with you and 
shall tell the plan as it has seemed to work out best through 
my own experiences in the smaller communities. What I shall 
say may not be new to any of you though it may contain some 
practical illustrations, which may serve to help the leaders in 
small communities in arousing interest in possible plans there. 

The first letters asking for information about pageants and 
whether or not steps can be taken to organize and develop 
one in their center, are answered with the assurance that if 
they will do their part, there is no question about it. Then 
follow suggestions as to the type of pageant, material, etc. 
The historical setting is always the most attractive and when 
it is settled that it shall be historical, ending perhaps with a 
short masque, which shall be symbolic of the town growth and 
interests, the Pageant Council, as I call it, is formed. This 
is made up of one or two representatives from different groups, 
as: woman's club, business men, schools, G. A. R., W. R. C, 
Masons, churches, and whatever other clubs or orders form a 
part of the town. To this Council I send a letter of instruc- 
tion concerning committees and their work. The chairmen 
are chosen from this Council. I also send a cast list so arranged 
that each member of the Council can go out to his group and 
get the number required from that source. In this way the 
cast is quickly gathered. To one center the list was sent asking 
for 500 and answer came by return mail that the town only 
boasted 600 inhabitants, but that they would do the best they 
could. The country side was sohcited with the result that 450 
made up the cast. You will wonder where the audience came 
from — they appeared in large numbers from the neighboring 
towns. 

The songs that are needed are sent to the Music Committee 
and usually the chorus contains older school children and the 
church choirs. The Historical Committee send to me whatever 
they can gather of local or state interest and this is cut down 
and culled over, until the material that can be used is about 
ready. The social group or groups, around which the prin- 



46 AMERICA, YESTERDAY AND TODAY 

cipal events center, are studied from many viewpoints and the 
characters needed are carefully chosen with the aid of the com- 
mittee, whose services and advice are invaluable. 

The Production. 

On the first day of my arrival there is a meeting of the 
Council. At this meeting I get direct answers to many vital 
questions relative to our work. This is followed by a meeting 
of the entire cast. At this time the story of the pageant is 
told, group assignments are made and principal characters are 
chosen. 

The rehearsals begin. Simplicity marks all that we do, for 
whatever is attempted must be well done. The instructions in 
entrances, exits, pantomime, mass movements, proportions as 
seen by the audience and the distribution of persons and groups 
upon the stage, are worked out with each group and in their 
relation to the whole, so that when we all come together for 
the first time, most of the business has been blocked out. 

The dances used are historically correct or symbolically 
fitting, but in their simplest forms. The accessories for the 
costumes of the principal groups in the historical episodes or 
in the masque, I have with me. The color scheme is thus largely 
taken care of, and much time is saved. The material (panto- 
mime, dances, etc.) is worked out in groups and then the whole 
is assembled. The music is not always satisfactory but we use 
the best we can secure. 

The place to give the production is always a source of 
curious interest before my arrival. It is sometimes hard to 
appreciate the fact that beauty blooms unseen in shaded wood- 
lands, in corn rows and in long vistas where wild vines blur 
with the leaves of poplar, oak and hemlock. If the pageant 
brought with it only a new love for God's out-of-doors, I should 
say that it had not been in vain. The woodland on the out- 
skirts of the town, where possibly a little stream winds its 
way and where the giant oaks, with blue skies above and beyond, 
make the most gorgeous setting, is the place we choose. Some- 
times the cornfields bound both sides and more than once a 



AMERICA, YESTERDAY AND TODAY 47 

little hill at back or sides has made our natural entrances and 
exits, without a tent wall of any description. 

The audience sits on a rise of ground in front and farther 
back the machines make good vantage points. With definite 
and simple instructions throughout the rehearsals and with a 
megaphone usable on the field, we assemble the pageant and 
every step is a new delight, to the cast and to the director. 
The day arrives and the production is given, with everyone 
at the wheel. Some of the cast have done their work on the 
farm and driven in eight or ten miles for rehearsals each day, 
many have visited with friends whom they have not seen for 
months though only a few miles apart. 

Some Civic and Social Reactions 
These I have seen grow up as a result of a pageant. 

1. Splendid co-operation of the several factions in the 
town. 

2. A greatly increased civic pride. 

3. A love and appreciation of the out-of-doors. 

4. A community club, a permanent organization which 
stands back of these community interests, which they created. 

A Dramatic Club. 
A. Story Telling hour each week. 
Playground direction. 
Medical examination in the schools. 
Library and magazine club. 
A Children's Chorus. 

Regularly arranged social evenings for the young 
people. 

5. A new joy in life. 

A college graduate in the town, who had always been 
greatly interested in dramatic work, but had not realized that 
she could do anything in her home center, found a new interest 
in life from directing a dramatic club of high school boys and 
girls. A good singer who had been graduated from one of 
the best schools in the country, but whose family would not 
consent to her going away to teach, found a wonderful oppor- 



48 AMERICA, YESTERDAY AND TODAY 

tunlty at her door, and before the year had ended 200 children 
sang" together in the civic chorus and civic interest in good 
music had increased one hundred per cent. 

The spirit which the pageant creates in the town, and the 
spirit which grows into wonderful expression as a result of 
whole families working and playing together in the commu- 
nity, makes me believe that the plans of The Drama League 
for the coming year, in inspiring an interest in the production 
of American pageants throughout our country, will be rewarded 
with great interest, splendid enthusiasm and wonderful results. 
— From the Drama League Monthly, January, 1917. 

This article is copied here with the thought in mind that 
the plan of organization may contain some suggestions which 
will be of value to the inexperienced pageant director. 



